Bird Dancer Jazz Orient Baluji Shrivastav - Sitar, Tabla, Voice, Dilruba, Ghatam, Pakhavaj Linda Shanovitch - Voice, Ankle Bells, Dance, Percussion, Tanpura Chris Conway - Keyboards, Electric & Acoustic 9-string guitars, Voice, Tin Whistle Guests: Clive Bell - Bamboo Flute, Temple Bells & John Ball - Tabla
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 Music to Engage the Mind, Heart and Soul

DDD Total Time = 58:00 - Recorded at Eye of Shiva Studios, London and TRG/Oblong Studios, Leicester

Jazz Orient is what happens when Baluji Shrivastav, Linda Shanovitch and Chris Conway make music together. Into the mix goes a vast wealth of melody, rhythms, instruments and vocals from the Indian Sub-Continent. Add to that, jazz and folk vocals plus Indian dance rhythm patterns. Include plenty of harmony and acrobatics on the keyboards, guitar and tin whistle. Contribute compositions from each musician then stir with lashings of imagination, spontaneity and a touch of humour. The result is Bird Dancer - an unusual but accessible musical feast.

Jazz Orient have been working together for four years often with specially invited guests such as the legendary Finnish jazz musician Sakari Kukko. Despite their different musical backgrounds they share a common artistic vision, striving for beauty, driven by their passion for improvisation, strong melody and rhythm; this is music that fills the heart and soul. This album was recorded live in three days - a tribute to typical Jazz Orient spontaneity. Included are two guest musicians, bansuri (bamboo flute) player Clive Bell and tabla player John Ball. The live situation suited the music and the musicians, helping to create the meeting place for the music.

1. Vanita's Dance Chris Conway - A lively Latin, samba-like composition from Chris opens the album. It was originally inspired by a Lakshmi Shankar concert rendition of Raag Khafi. It features an amazing vocal solo from Linda before Baluji's pakhawaj solo is joined by Linda's ankle bell footwork to close the piece.

2. I Am A Note Linda Shanovitch - This was originally a simple ballad which was transformed by Chris adding a Latin rhythm and Baluji spicing it up with sitar.

3. Tarana Too Baluji Shrivastav - Tarana is a Semi -Classical Hindustani vocal form using abstract syllables derived from sacred words used by Persian mystics. This form developed in the Mughal courts of India. Tarana Too is in Raag Yaman (Lydian mode) and is in the rhythmic cycle of 16 beats called tintaal. The bols or syllables are a kind of Indian scat. It opens with an Alaap (slow improvisation of the scale) . It also has a solid section of classical sitar and tabla as well as vibrant jazz impros from Chris on keyboard and intricate footwork accentuated with gungarus (ankle bells) by Linda.

4. Amarylis Conway/Shrivastav/Shanovitch/Bell - Part of a spontaneous improvisation where Chris, Linda and Clive each get a window to shine accompanied by Baluji's bright ghatam (clay pot).

5. The Trace Shanovitch/Shrivastav - This was originally an instrumental piece in Kaharva ( 8 beat cycle) by Baluji. Then Linda extracted the Sthayi ( First verse) annihilated the rhythm and couldn't get it out of her mind till she she wrote the lyrics to go with it. This song is a romantic marriage of minds.

6. Hoy Conway/Shrivastav/Shanovitch/Bell - This group composition has a strong Punjabi folk feeling derived from the rhythm. It conjures up a "curry western" with the heroes riding off into the sunset.

7. Kama Deva Linda Shanovitch - Kama Deva is the God of Erotic love ( the Kama Sutra is his handbook) and like his younger cousin Eros he shoots arrows of love. This song is a part of a series of songs Linda has written about Hindu deities. A selection form the basis of a book called Journey With the Gods together with Songs From A Journey With the Gods.

8. Zigmondi Chris Conway - A haunting composition from Chris, originally inspired by Hungarian folk music, and in particular, by the singing of Agnes Zigmondi. Clive's flute and Baluji's dilruba set the mood before the melody and improvisation is played out over minimal Terry Riley-esque organ figures.

9. Boss Me Around Linda Shanovitch - This is a song the girls always enjoy and a wonderful example of Baluji's Blues sitar which expresses perfectly the disgruntled male.

10. Golden Conway/Shrivastav/Shanovitch/Bell - A fascinating one-take improvisation contrasting Bajuji's Indian Classical styled vocal, Linda's ethereal vocalise and Chris's jazz scat. The three voices weave like golden threads over an atmospheric backdrop.

11. Emerald Air Conway/Shrivastav/Bell - Chris's Celtic folk influence is heard here on this improvisation as he plays his tin whistle over Baluji's ghatam in 3/4 time. Baluji changes to an Indian folk rhythm as Chris swaps to his acoustic 9-string guitar and is joined by Clive.

12. Bird Dancer Chris Conway - This theme by Chris was written after working with Indian violin maestro Dr L Subramanium on a dance production which involved dancers dressed as birds. The piece is dedicated to him. It's infectious rhythm and it's ingenious 37 beat motif at the end of each theme cycle have helped make this a firm favourite with audiences at Jazz Orient concerts.

Linda Shanovitch and Chris Conway, June 1998.

Thanks to - Clive Bell and John Ball, Gerald Wells, Neil Segrott, Carl Peberdy, Neil Davenport, Derek Roberts, Ella Michaelaides, Ian Kleinberg, Vinita, Shrivastav, Jules Conway, Geraldine Ford, Bjørnar Bjørnson and Dorian Morian at TRG/Oblong, all members of the Jazz Orient extended family, Jackie and all at Zah-Zah.